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  • 1.
    Axelsson, Karl
    et al.
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Literature.
    Flodin, Camilla
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Centre for Gender Research.
    Contemplation or Manipulation?: Aesthetic Perspectives on Nature and Animals from Shaftesbury to Bio-Art2017In: International Yearbook of Aesthetics vol. 19: Retracing the past: Historical continuity in aesthetics from a global perspective / [ed] Zoltan Somhegyi, Santa Cruz, CA: International Association for Aesthetics , 2017, p. 29-41Chapter in book (Other academic)
  • 2.
    Axelsson, Karl
    et al.
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Philosophy, Aesthetics.
    Flodin, Camilla
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Philosophy, Aesthetics.
    Onödig: kulturindustrin klarar sig utmärkt utan Johan Staël von Holstein2008In: Dagens NyheterArticle in journal (Other (popular science, discussion, etc.))
  • 3.
    Flodin, Camilla
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Centre for Gender Research. Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Philosophy, Aesthetics.
    Adorno and Schelling on the art–nature relation2018In: British Journal for the History of Philosophy, ISSN 0960-8788, E-ISSN 1469-3526, Vol. 26, no 1, p. 176-196Article in journal (Refereed)
    Abstract [en]

    When it comes to the relationship between art and nature, research on Adorno’s aesthetics usually centres on his discussion of Kant and Hegel. While this reflects Adorno’s own position – his comprehension of this relationship is to a large extent developed through a critical re-reading of both the Kantian and the Hegelian position – I argue that we are able to gain important insights into Adorno’s aesthetics and the central art–nature relation by reading his ideas in the light of Schelling’s conception of this relationship. The article focuses on the similarities between Schelling’s notion of nature’s productivity and Adorno’s understanding of natural beauty. It concludes with a discussion on Adorno’s re-evaluation of the reconciliatory power of the exemplary unity of the artwork in conjunction with Schelling’s comparison between artwork and organism, as well as his concept of the construction of nature.

    The full text will be freely available from 2019-02-14 14:49
  • 4.
    Flodin, Camilla
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Philosophy, Aesthetics.
    Adorno on Nature2013In: Florida Philosophical Review, ISSN 1535-3656, E-ISSN 1535-3656, Vol. XIII, no 1, p. 60-63Article, book review (Other academic)
  • 5. Flodin, Camilla
    Adorno Reframed2014In: Estetika, ISSN 0014-1291, Vol. 51, no 1, p. 146-148Article, book review (Other academic)
  • 6.
    Flodin, Camilla
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Philosophy, Aesthetics.
    Art and Threatening/Threatened Nature2010In: Eurozine, ISSN 1684-4637Article in journal (Other academic)
  • 7.
    Flodin, Camilla
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Philosophy, Aesthetics.
    Att uttrycka det undanträngda: Theodor W. Adorno om konst, natur och sanning2009Doctoral thesis, monograph (Other academic)
    Abstract [en]

    This thesis examines a central, but neglected aspect of the aesthetic theory of Theodor W. Adorno, namely his notion of art as mediator between mankind and nature. The analysis focuses on Adorno's discussion of art's truth content, understood here as art's ability to give voice to nature as it has been subjugated by the growth of civilization.

    Chapter one examines the notion of the domination of nature in Dialectic of Enlightenment. This notion serves as important background for the understanding of how art can preserve the memory of nature.

    Dialectic of Enlightenment also contains an outline of the genealogy of art. This genealogy is the focus of chapter two, which explores how the birth of art is connected to the domination of nature.

    Chapter three considers Adorno's criticism of the priority of human reason over nature in both Kant's and Hegel's aesthetics. Adorno claims instead that art which manages to mediate natural beauty reveals human being's likeness to nature and animals rather than her superiority over them.

    Chapter four explores the issue of how something created by man can give voice to nature, which is usually considered as mankind's opposite.

    Chapter five develops the discussion from chapter four and further examines Adorno's notion of art as a placeholder for that which is not yet, i.e. the reconciliation between mankind and nature.

    Chapter six deals with the relationship between art and society. Adorno regards art as both autonomous and social, and claims that it is necessary for art to participate in nature-dominating society in order to be able to give voice to repressed nature.

    In the concluding remarks an interpretation of Adorno's idea of art as a placeholder for the reconciliation between mankind and nature is outlined in a way that enables the inclusion of art after the modernist era as well.

  • 8.
    Flodin, Camilla
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Centre for Gender Research.
    I den andres ögon2016In: The Chosen Ones, Stockholm: Journal , 2016, p. 41-43Chapter in book (Other (popular science, discussion, etc.))
  • 9.
    Flodin, Camilla
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Centre for Gender Research.
    In the Eyes of the Other2016In: The Chosen Ones, Stockholm: Journal , 2016, p. 41-43Chapter in book (Other (popular science, discussion, etc.))
  • 10.
    Flodin, Camilla
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Philosophy, Aesthetics.
    "Jag är en noshörning": Adorno om konsten och människans djurlikhet2010In: Hjärnstorm, ISSN 0348-6958, no 102-103, p. 3-8Article in journal (Other academic)
  • 11.
    Flodin, Camilla
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Philosophy, Aesthetics.
    Koltrastens klagan2010In: Nutida Musik, ISSN 1652-6082, no 4, p. 26-27Article in journal (Other (popular science, discussion, etc.))
  • 12.
    Flodin, Camilla
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Philosophy, Aesthetics.
    Konsten och den hota(n)de naturen2009In: Glänta, ISSN 1104-5205, no 4, p. 86-91Article in journal (Other academic)
  • 13.
    Flodin, Camilla
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Philosophy, Aesthetics.
    Naturen som "alls icke omyndig" vs. "Det finns ingen natur längre."2009In: Codex and Code: Aesthetics, Language and Politics in an Age of Digital Media, Linköping: Linköping University Electronic Press , 2009, p. 105-113Conference paper (Other academic)
    Abstract [sv]

    För Adorno är idén om att konsten medlar mellan människa och natur central, liksom den var för det stora flertalet romantiska filosofer och konstnärer. Adorno återkommer till Hölderlins dikt "Bergvinkeln i Hardt" ("Der Winkel von Hardt") i sin essä "Parataxis", i Ästhetische Theorie och i sina föreläsningar om historia och frihet. I Hölderlins dikt beskrivs naturen som "alls icke omyndig" ("nicht gar unmündig"). Naturen bär i dikten spår av det förflutna och vittnar om ett historiskt skeende. I sina föreläsningar om historia och frihet menar Adorno att denna dikt är den bästa modellen för att förstå vad han själv menar med sitt begrepp "naturhistoria". Jag vill utreda varför så är fallet samt på vilket sätt Adorno menar att den modernistiska konsten vänder sig mot (den romantiska) idén om konsten som en försoning mellan människa och natur, så att denna försoning endast kan gestaltas negativt. I Becketts Slutspel (Fin de partie) säger en av huvudpersonerna: "Det finns ingen natur längre." Pjäsen framställer enligt Adorno en komplett förtingligad värld, där ingenting som inte tillverkats av människor har någon plats. På vilket sätt kan Becketts verk ändå sägas peka mot en möjlig försoning mellan människa och natur? Hur talar naturen i detta verk jämfört med i Hölderlins dikt?

  • 14.
    Flodin, Camilla
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Philosophy, Aesthetics.
    Naturens röst2012In: Translucence, Malmö: Bokförlaget Arena , 2012Chapter in book (Other (popular science, discussion, etc.))
  • 15.
    Flodin, Camilla
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Philosophy, Aesthetics.
    Of Mice and Men: Adorno on Art and the Suffering of Animals2011In: Estetika, ISSN 0014-1291, no 2, p. 139-156Article in journal (Refereed)
    Abstract [en]

    Theodor W. Adorno's criticism of human beings' domination of nature is a familiar topic to Adorno scholars. Its connection to the central relationship between art and nature in his aesthetics has, however, been less analysed. In the following paper, I claim that Adorno's discussion of art's truth content (Wahrheitsgehalt) is to be understood as art's ability to give voice to nature (both human and non-human) since it has been subjugated by the growth of civilization. I focus on repressed non-human nature and examine Adorno's interpretation of Eduard Mörike's poem 'Mausfallen-Sprüchlein' (Mousetrap rhyme). By giving voice to the repressed animal, Mörike's poem manages to point towards the possibility of a changed relationship between mice and men, between nature and humanity, which is necessary in order to achieve reconciliation amongst humans as well.

  • 16.
    Flodin, Camilla
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Philosophy, Aesthetics.
    The Voice of Nature2012In: Translucence, Malmö: Bokförlaget Arena , 2012Chapter in book (Other (popular science, discussion, etc.))
  • 17.
    Flodin, Camilla
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Philosophy, Aesthetics.
    The Wor(l)d of the Animal: Adorno on Art’s Expression of Suffering2011In: Journal of Aesthetics and Culture, ISSN 2000-4214, E-ISSN 2000-4214, no 3, p. -12Article in journal (Refereed)
    Abstract [en]

    Although Adorno takes modern, autonomous art as the starting point for his aesthetics, this does not mean that his idea of art’s truth content is restricted to the artworks of modernity. In the article, I wish to show that Adorno’s discussion of art’s truth content is intimately connected with its capacity to express the suffering that nature has undergone and still undergoes in the name of enlightenment. I focus on art’s expression of the suffering of nonhuman nature, and particularly non-human animals. I examine the interpretation Adorno makes in Dialectic of Enlightenment of an episode from The Odyssey, to show that even an artwork before the modern conception of art can be said to have truth content. Few commentators have considered this, and those who have, have not recognized Adorno’s conviction that what is significant in authentic artworks is their ability to give voice not only to repressed human nature but also to repressed non-human nature. Giving voice to suffering nature and animals is something that unites The Odyssey with subsequent artworks, such as Mahler’s Third Symphony.

1 - 17 of 17
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